pacific cultures
TRANSCRIPT
ART OF PACIFIC CULTURES
By:
Ara Cho
Ian Ting
Chris Woodington
MAIN SOURCES FOR ART
Australia Melanesia Micronesia Polynesia Modern Art
BACKGROUND
Land of Oceana settled around 50,000 years ago, after people began to move from Southeast Asia
Life did not change until as early as 7000 BCE when the people of Melanesia began to raise animals and cultivate crops
These aborigines continued this way of life well into the 20th century
THE LAPITAS
People of Melanesia and western Polynesia Named for a site in New Caledonia Began to settle around 1500 BCE Farming and fishing culture Made distinct ceramics: dishes, platters. Bowls, jars
FRAGMENTS OF A LARGE LAPITA JAR
Venumbo Reef, Solomon Islands, Melanesia. Circa 1150 BCE
Clay, Height of human face Bands of incised and
stamped patterns- dots, lines and hatching- heightened with white lime
Depicts one of earliest representations of human from Oceanic art
Usually art was entirely geometric with few figurative aspects
POLYNESIA
Emerged from Lapita on islands of Samoa and Tonga around 1st century CE
Sailed and settled around region, reaching Hawaii around 500 CE and New Zealand around 1000 CE
Widespread region meant varied materials for art
AUSTRALIA
Original inhabitants life was intimately connected with a concept known as Dreamtime Period before humans, Earth starts out flat and
spirit beings shape it Spirits grew old and departed but their presence
is still felt (climate)Each person has two souls: one mortal and one
immortal, associated with a particular ancestral spirit.
This is a focus point for art, goal of many paintings is to restore contact with Dreamtime
ARNHEM LAND
Earliest remains found in North People continued Paleolithic lifestyle well into 20 century Ceremonial life included ritual body painting as well as
ornamentation of implements and interiors of bark houses
Rock paintings famous for association with Dreamtime
ROCK PAINTING
X-ray style Bones, internal organs, spinal column, heart, stomach
QuickTime™ and a decompressor
are needed to see this picture.
MIMIS AND KANGAROO
Oenpelli, Arnhem Land, Australia 18,000-7,000 BCE Red and yellow ocher and white pipe clay Four legs showing Both ears Same time roughly as cave painting in Europe Painting on top of earlier, sticklike figures
paintings
BARK PAINTING
Origin myths, rituals Continued X-ray style in western, in eastern developed
new style based on ritual body painting Yolungu rarely reveal full meaning of art Used styles like dotting and cross-hatching, known as
rarrk Still very geometric in style
MELANESIA
Same purpose as art in Australia More agricultural, places set aside for ritual worship Woman barred from ritual arts, but still produced goods
such as bark cloth Ritual objects not made to last
NEW GUINEA
Two main countries, Papua New Guinea, Irian Jaya Diversity of both people and climate: leads to different art
forms Over 700 languages identified
BOATS IN OCEANIA
From fishing vessels to war canoes, varied in size greatly
Materials make building different for each culture
Sails or paddles Most purely functional, not much
ornamentation Only war canoes had decoration, political and
martial face of culture, intimidation factor Mostly on prow and stern, depicted animals,
humans, spirals and other geometric designs. Some inlaid with shells and others painted.
Most elaborate came from New Zealand
CANOE PROW
Trobriand Islands,
Milne Bay Province,
Papua New Guinea Modern
QuickTime™ and a decompressor
are needed to see this picture.
IRIAN JAYA
Asmat live in grasslands on southwest coast Known as warriors and headhunters Identified trees with humans, fruit Birds and Praying mantis headhunters in war and
mortuary art Honor dead, memorial poles erected, known as mbis Ceremonies reestablish balance between life and
death Contain souls of deceased
Still same upkeep as other ritual art
ASMAT ANCESTRAL SPIRIT POLES
Irian Jaya, Indonesia Wood, paint, palm leaves Height 18’ Enemy head placed in
cavity at base Figures representing tribal
ancestors support recent dead
Bent pose like praying mantis
Birds are shown breaking open nuts
Top represents male fertility
NEW IRELAND
Large eastern islands of Papua New Guinea Practice ceremonies for family known as
malanggan Also honor dead, masks are made to go
along with funeral rituals Involve whole community, strengthen social
relations and property claims Works displayed before ceremony include
masks, ritual dance equipment, freestanding sculpture and figures on poles representing dead
TATANUA DANCE MASKS
One of dances in malanggan is called tatanua References dance itself or masks that participators
wear Masks represent one of three souls of dead Carved and painted Employ simple geometric designs, ladders, zigzags,
and sometimes feathers Paint applied in ritual order
First lime white- magic spells Red- recall spirits of dead Black Charcoal- warfare Lastly yellow and blue for decoration Colors and symbols different for each side- allow
dancers to represent different appearances with a turn
MICRONESIA
Four major island groups: Pohnpei, Chuuk, Yap and Kosrae
Micronesia’s islands are small, low-lying coral islands
Basalt cliffs of island of Pohnpei provide material for stone architectural complexes in Oceania
The ancestors of Micronesia settled Caroline Islands over 4000 years ago
GABLE FIGURE (DILUKÁI)
19th–early 20th century Wood, Paint Caroline Islands The significance is really
uncertain In some traditions there was a
troublesome man who fled to meeting house (bai) with his sister and they were later expelled
To prevent his return the residence put a this over the entrance
This meaning the brother was forbidden to see his sister naked
WEATHER CHARM (HOS)
late 19th–early 20th century
Caroline Islands Wood, stingray spines,
fiber, lime The navigator would
bring this charm and would blow into this to invoke the sprits a recites a chant to drive away the on coming storm
SEATED FIGURE
late 19th–early 20th century
Caroline Islands Wood, shell, traces of
paint and resin The seated figures
gender is undetermined These were commonly
found around the Caroline Islands
Which indicates that this seated figure common origin and function
NAN MADOL
On the southeast coast Consists of 92 artificial
islands It is built on top of coral reef Largest and most
impressive, reflecting the importance of the kings who ruled from the site
Some may call it the lost city of Nan Madol
NAN MADOL (CONTINUED)
The site was abandoned by the time the Europeans came in, in the 19th century
No one knows who built these ruins and how the columns were built
Besides the ruins there are no carvings or art left behind
The Saudeleur were the ones that ruled the island for more than a millennium
POLYNESIA
It was the last area of the Pacific to be settled by humans
Also the last area to be mapped and colonized by the Europeans
Polynesian art served as indicators of rank and status
Their art were often handed down to generation to generation as heirlooms
MALE FIGURE (MOAI TANGATA)
early 19th century Easter Island Wood, obsidian, bone Little is known about the
nature and the use of this figure
This figure may represent a family ancestor
It also may have been intended to portray specific individual
BREASTPLATE (CIVANOVONOVO)
early 19th century Fiji (created by Tongan
artists) Whale ivory, pearl shell,
fiber These were worn exclusively
by male chiefs In the Fiji islands these were
very precious and powerful These were used in battles
or other dangerous activities
EASTER ISLAND
Easter Island is one of the most famous places but the least visited
It has three volcano's on each end making the island a triangular shape
The island was named by a Dutch captain Jacob Roggeveen
He named because he visited the island on Easter Sunday in 1722
He became the first European to visit
MONUMENTAL SCULPTURES
These sculptures are scattered across the island
Mostly all of them are carved out of hard stone
No one really knows how they got there
The average statue is about 14 feet long and weigh up to 14 tons
Some are 33 feet and weigh more then 80 pounds
MARQUESAS ISLANDS
The first inhabitants of Easter Island were probably voyagers from the Marquesas Islands
They are made up of several volcanic islands
The natives were known for their warfare
The natives were also noted for cannibalism
WAR CLUB
The fighting in Marquesas Islands were usually hand to hand
The warriors used elaborate ceremonial dress to convey their rank and status
They also had highly developed art in which they would tattoo their faces with different patterns
NEW ZEALAND
Last part of of Polynesia to be settled
Sometime 10th century CE
Geographically isolated 1st Contact in 1769 by Captain
Cook Early Polynesian settlers
became known as the Maori
CHRONOLOGY
Maori Scholars established these periods (translated): The Seeds (900-1200) The Growth (1200-1500) The Flowering (1500-1800) The Turning (1800-present)
MAORI PEOPLE
Share many cultural practices with other Polynesian societies
Divided into different clans sometimes at war
ART AND RELIGION
In Maori legend, the first artists were gods “tohunga” means expert (artist) but also priest
The artist, the artwork, and the tools are all holy Art is judged on spiritual connection
A prized artwork must have a history of contact with mana
Tapu prevents artworks from being repaired
TATTOO
The Maori had facial tattoos called moku
Men wore them all over their face
Women had them on their lips and chins
They were complex patterns Each pattern is original;
could be used as a signature Tattoos show authority
MAORI WOOD CARVING
Distinctive of Maorie Combined massive form with
delicate ornament Depict tiki figure with ocean
inspired imagery Finished with red clay and
shark-liver oil Carved Lintel18th CTotara wood and haliotis shell40x16x2”
MEETINGHOUSE
Demonstrate primacy of ancestral connections The building is the body of an ancestor
Central beam=spine Rafters=ribs Barge boards=arms
TE HAU-KI-TURANGA MEETING HOUSE
Built 1842-5 by Raharuhi Rukupo and assistants Preserved in a museum 1935 Built with metal tools Includes a self portrait
Meeting House Stave Church
HAWAII
Settled 300CE and again 900CE
Developed high stratified social structure
Unified under Kamehameha I
RELIGIOUS SCULPTURE
Kamehameha I was dedicated to the war god Kukailimoku
Genealogical links reinforced right to rule
Originally situated in a temple enclosure
Dramatic expression of fury
KukailimokuLate 18th or early 19th centuryWoodHeight 7’7”
FEATHER CLOAKS
Art to visualize and reinforce hierarchy Color red-high status and rank Labor intensive to make
Requires from 50,000 to 500,000 feathers
Kearny Cloakc. 1843Red, yellow, and black feathers, olona cordage, and nettingLength 56”
MUSIC Pacific cultures use oral tradition Instruments were used to accompany vocal recitations and
songs Sisyphean theme present in music
Struggle against fate/existence
Maori Flute Hawaiian Gourd DrumRotinese Tube Zither (Sasandu)
http://www.youtube.com/watch?v=0zZpYlGuD7I
MODERN PACIFIC ART
Oceanic cultures abandoned many traditional practices Mostly due to colonial and missionary pressure
Now Reintegration is occurring Cultural renewal Adapting modern tools and medium to traditional topics
TAWHIRI-MATEA (GOD OF THE WINDS)
Made 1984 by Cliff Whiting Reemergence of Maori wood carving New Colors; oil on wood and fiberboard Depicts events from Maori creation myth
UKULELES
http://www.state.gov/r/pa/ei/bgn/1839.htm http://www.metmuseum.org/toah/works-of-art/1978.412.1558a-d http://www.metmuseum.org/toah/works-of-art/2003.243 http://www.smithsonianmag.com/history-archaeology/Nan-Madol-The-
City-Built-on-Coral-Reefs.html http://www.metmuseum.org/toah/works-of-art/1984.526 http://www.metmuseum.org/toah/works-of-art/2003.8 http://www.world-mysteries.com/easter_island.htm http://sacredsites.com/americas/chile/easter_island_facts.html http://en.wikipedia.org/wiki/Lapita http://www.berkeley.peralta.edu/apps/docs.asp?Q=Projects/
10051&V=60 http://www.flickr.com/photos/8309065@N04/2530734104/ Kleiner, Fred S. Gardner’s Art through the Ages: Non-Western
Perpectives. 13th Edition. Boston, Massachusetts: Wadsworth, Cengage Learning, 2010.
O’Riley, Michael Kampen. Art Beyond the West. 2nd Edition. Upper Sadde, New Jersey: Pearson Education Inc., 2006.
Stokstad, Marilyn. Art History. 3rd Edition. Upper Saddle River, New Jersey: Pearson Education Inc., 2008.
"Sounding the Pacific: Musical Instruments of Oceania.” The Metropolitan Museum of Art, New York: Metmuseum.org. 9 Nov. 2009. Web.
Art History Textbook